Opp Red Fort (1 km west) between 1650 to 1656, based on the plan and design of Ostad Khalil, the then great sculpture, Emperor Shahjahan built Juma Masjid at the cost of Rs 10 crore- it may be said as the replica of Moti Masjid in Agra. It is called Masjid-e-Jahanuma. It is the heartbeat gate was meant for Royal Family and Shahjahan used to come on every Friday and on every festival by walk from the fort.
The north and south gates were meant for common people. Alike Bho Jhala hill top on a high dais at the head of the highest peak there were 2 minars of 40 m high. Buy ticket Rs 5, get up flights of 122 steps and view around from the South Minar. The premises of the South Minar is 1076 sq ft wide. 2,5000 devotees at a time may sit together for namaz.

The original Prayer Hall is 201´120 ft with the height of 135 ft made in combination of red sand stone and white marble. In the interior, to the west or Mecca-facing 3 tombs were made of Marble. At the head of the original Prayer Hall there is white and black marble made tomb. The inscription from Quran, on the west wall bow type arch, in the midst at central reck there is mihrab or the seat of Chief Imam. It took 5 years & 5000 people to built Masjid. It was the last work of Shahjahan. In the biggest Juma Masjid in India, it has a great treasure kept in the N-East corner of the white shrine a hair of the beard of Hazrat Mahmmad, his used chappal, a chapter of Quran (original), the canopy of his tombstone and the foot print of Mahmmad on the stone.The main Iman of this Juma Masjid is the direct descendent of the original and first Imam appointed by Emperor Shahjahan and till now there is no break in its descendency. People of different religion are not allowed in between 12-30-14-00. If you desire to go, you should go bare-footed, head covered and wearing lungi, - these are norms and all these are available on payment. If you want to get photographs, you need to buy ticket.In 1739 taking advantage of the bad time of Mughal Empire, Nadir Shah, the Persian Emperor captured Delhi. In 1803 British kept blind poet Bahadur Shah in the throne of Delhi for show holding the real administrative power. Bahadur Shah took side to the Sepoy uprising in 1857 that led his deportation to Rangoon by the British.
And he was the last Mughal Emperor. British charged huge cannon shell on the city damaging most of Delhi. British General Le Hudson killed all male members of Bahadur Shah's family including his minor children and hanged their dead bodies at the first floor of the main entrance of the old Fort from the side of Feroz Shah Kotla. Since then the main door of the first floor is known as Khuni Darwaja. Going further on Mathura Rd there is Khairul Manzil Palace.

The Great Mosque of Old Delhi is Both the Largest in India and the final architectural extravagance of Shah Jahan. Begun in 1644, the mosque was not completed until 1658. It has three great gateways, four angle towers and two minarets standing 40m high and constructed of altering vertical strips of red sandstone and white marble. Broad flights of steps lead up to the imposing gateways. The eastern gateway was orginally only opened for the emperor, and is now only open on Friday and Muslim festival days. The views in all directions are superb - Old Delhi, the Red Fort and the polluting factories beyond it across the river, and New Delhi to the south. You can also see one of the features that the architect Lutyens incorporated into his design of New Delhi - the Jama Masjid, Connaught Place, and Sansad Bhavan (Parliament House) are in direct line. There's also a fine view of the Red Fort from the east side of the mosque.

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A unique structure raised in 1724, now lies in the heart of Delhi's commercial centre near Connaught place. This is the Jantar Mantar, one of several astronomical observatories raised by Maharaja Jai Singh II of Jaipur. The various abstract structures within the Jantar Mantar are, in fact, instruments that were used for keeping track of celestial bodies. Yet, Jantar Mantar is not only a timekeeper of celestial bodies, it also tells a lot about the technological achievements under the Rajput kings and their attempt to resolve the mysteries regarding astronomy. The Jantar Mantar of Delhi is only one of the five observatories built by Sawai Jai Singh II, the other four being located at Jaipur, Varanasi, Ujjain and Mathura.
All of these were built as far back as AD 1724-1730 during the period generally known as the dark age of Indian history, when the last great Mughal emperor Aurangzeb had died and the Mughal Empire was rapidly declining. During this period of turmoil, Muhammad Shah ascended the throne of the Mughal Empire. As many enemies surrounded him, he sought the alliance of the Hindu rulers. Of these, the most notable was Sawai Jai Singh II of Amber, who came into limelight since the days of Aurangzeb. When Jai Singh ascended the throne of Amber in 1699, he was barely eleven, but sharp and shrewd far beyond his years. The then Mughal emperor Aurangzeb was so impressed with the young ruler that he gave Jai Singh II the title of 'Sawai', meaning one and a quarter of an average man in worth.

As Jai Singh repeatedly proved himself a worthy ally of the Mughals, Muhammad Shah, who was seeking a dependable ally, zeroed in on Jai Singh and duly raised him to the rank of governor of Agra and later, of Malwa. Legend Behind Jantar Mantar Jai Singh was passionate about two things-arts and the sciences, chiefly astronomy. Once, at the court of Muhammad Shah, he found the Hindu and Muslim astrologers embroiled in a heated argument over certain planetary positions. It was imperative that the positions be known accurately to determine an auspicious hour for the emperor to set out on an expedition. Jai Singh offered to rectify the then available astronomical tables, an offer that was readily accepted by the Mughal emperor.
 The result was an onsite Jantar Mantar in Delhi, an astronomical observatory where the movements of sun, moon and planets could be observed.

Jai Singh's idea was to create a rebirth of practical astronomy among the Indian masses and practicing astronomers. However, the lofty ideals of the Jantar Mantar remained unfulfilled as the country at that time was in chaos and the full potential of this observatory was never realized. In the beginning, Jai Singh tried to use brass instruments in this observatory, but soon gave them up because of several inherent flaws. They were too small, for one thing, their axes were unstable so the center often got displaced. He then decided to follow the style adopted by the renowned Arab astronomer, Prince Ulugh Beg, builder of the famous 15th century observatory at Samarkand, Uzbekistan. The massive masonry instruments at Samarkand suited Jai Singh's architectural tastes and promised to be more accurate because of sheer size. In 1730, Jai Singh sent a mission to the king of Lisbon. On its return to Jaipur, the mission brought back a telescope and the court astronomer by the name of Xavier de Silva. The Observatory This unique observatory was completed in 1724 and remained operational only for seven years.

Astronomical observations were regularly made over here and these observations were used for drawing up a new set of tables, later compiled as Zij Muhammad Shahi dedicated to the reigning monarch. Jai Singh named his observatory Jantar Mantar, which is actually pronounced, as 'Yantra Mantra', yantra for instrument and mantra for formula. A huge sundial known as "Samrat Yantra" or 'Prince of Dials', meant to measure accurate time of the day within half a second and the declination of the sun and other heavenly bodies dominates it.
Jai Singh himself designed this yantra. Other yantras were also meant for the study of heavenly bodies, plotting their course and predicting eclipses. The two pillars on the southwest of Mishra Yantra are meant to determine the shortest and longest days of the year. Interestingly, in December one pillar completely covers the other with its shadow while in June it does not cast any such shadow at all. After the completion of the first Jantar Mantar and with a view to verifying astronomical observations made at Delhi, Jai Singh built similar, even if smaller observatories, at other important Indian cities-Jaipur, Varanasi, Ujjain, and Mathura. The Jantar Mantars may have fallen into disuse but they remain an integral part of India's scientific heritage. It presents that the spirit of scientific enquiry was not dead in India and would have yielded rich results if only an opportunity of research and development had been given to it. This monument situated just a stroll away on the Parliament Street, still remains one of the most intriguing structures of the capital, one that burst in a flood of questions inside the curious mind of the tourist

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It is 4 km away from Connaught Circus to the S-East of India Gate, the foundation of this Fort was started by Humayun in 1530 but remained incomplete as he was defeated by Afghan hero Sher-Shah-Suri in 1541. It is located in the pre-historical Indraprastha (as is surveyed and proved in 1955 findings) of the Mahabharata and completed by Sher Shah as the 6th city or Killa or the Fort. Later it was named Shergarh. On the 3 sides by Jamuna. From 3rd BC to pre-Mughal period, there was fort in Indraprastha. Humayun built a new one. Old Indraprastha became Dinpanaha. The Fort was encircled with high walls having 3 main entrances. Entering through the Zoo Garden or the Talaki Entrance of north, you will see the octogonal peaks made of sand stones on Sher Manzil. After the death of Sher-Shah-Suri in 1548, Humayun recaptured Delhi in 1555 defeating Sher Shah' son Islam Shah. Humayun also destroyed Shergarh. However, Sher Manjil founded by Sher Shah became Humayun's library.

In 1556, hearing Muezzin Azaan he intended to attend the prayer and coming out from his library he suddenly fell down from the stair cases and died 3 days later. Red grey colour bow-shape arch of Sher Shah gate is beautiful. Behind Sher Manzil on the right at Humayun (Red) Darwaja or Entrance is Field Museum with the collection of (open 8-00 to 18-30) anthropological exhibits. The museum has a collections of Mughal dynasty, Sultanate dynasty, Rajput dynasty, Gupta dynasty, Sunga dynasty, Mourya dynasty and of the era before Christ.

The coin collections of Sunga dynasty (200-100 BC) is remarkable. Killa-e-Kuhana Mosque founded by Sher Shah in Indo-Afghan sculpture is unique. However, the killa is on the rage of ruin now. Highway are made through this killa. On the right of this killa is Zoo Garden at a little distance, Hazrat Nizamuddin Rly Stn.

The new attraction of Old Fort is Sound & Light show. By the light of renowned Tapas Sen, the rise and fall of Delhi from Indraprastha to Mughal era becomes live in Sound & Light show, duration of which is 1 hr. Voice given by Jaya Bachhan, Om Puri and others. English version: Sept-Oct & Feb- April 20-30 to 21-30, Nov-Jan 19-30-21-30, May-Aug 21-00-22-00; Hindi: 19-00-20-00/18-00-19-00/19-30-20-30hr. Ticket 25, Free upto 5 yrs old.

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Since its inauguration to public worship in December 1986, the Bahá'í House of Worship in New Delhi, India has drawn to its portals more than 50 million visitors, making it the most visited edifice in the world, its numbers surpassing those of the visitors to the Eiffel Tower and even the Taj Mahal. The maximum number of visitors the Temple has received in a single day has been 150,000. They have come regardless of the scorching summer heat of Delhi which rises above 40°C during the months of June to September, and have braced the chill and cold rains that Delhi experiences during winter. These visitors have admired the beautiful lotus form of the Temple, and have been fascinated by the teachings of the Bahá'í Faith impressed by its tenets of the oneness of God, oneness of religions and oneness of mankind.

This "House of Worship of the Indian subcontinent" joins six other Bahá'í temples around the world. Each of these Houses of Worship, while sharing some basic design concepts, has its own distinct cultural identity embodying the principle of unity in diversity. The lotus, the national flower of India, is a recurring symbol in the religious architecture of the Indian subcontinent. This ancient symbol has been given a modern and contemporary form in the structure of the Bahá'í House of Worship drawing into its sanctum sanctorum people from all races, religious backgrounds and culture from around the globe.

To the people of India the lotus flower signifies purity and peace, a representation of the Manifestation of God. Rising pure and unsullied above stagnant, muddy waters, the Indians have seen this flower as worthy of emulation, teaching them to be detached from material preoccupations. It is because this flower is so revered in Indian mythology and cultures that its translation into the design of a temple has caught the attention of the people at large.

The structure of the House of Worship is composed of three ranks of nine petals; each springing from a podium which elevates the building above the surrounding plain. The first two ranks curve inward, embracing the inner dome; the third layer curves outward to form canopies over the nine entrances. The petals, constructed of reinforced white concrete cast in place, are clad in white marble panels, performed to surface profiles and patterns related to the geometry. The double layered interior dome, modelled on the innermost portion of the lotus, is comprised of 54 ribs with concrete shells between. The central hall is ringed by nine arches that provide the main support for the superstructure. Nine reflecting pools surround the building on the outside, their form suggesting the green leaves of the lotus flower.

In the raising of the House of Worship in New Delhi traditional Indian means of construction were employed coupled with the most modern Western engineering design. Fariborz Sahba, Canadian architect of Iranian origin, spent 10 years in designing and project management, and with the help of a team of about 800 engineers, technicians, artisans and workers brought to realisation one of the most complicated constructions in the world. The conversion of the lotus into structural designs and working drawings alone took the architect and his structural consultant Messrs. Flint and Neil Partnership nearly 18 months of work.

Translating the geometry of the design, in which there are virtually no straight lines, into the actual structure presented particular challenges in designing and erecting the framework. Not only was it difficult to align, so as to produce accurately the complex double-curved surfaces and their intersections, but the closeness of the petals severely restricted work space. Nevertheless the task was carried out entirely by the local labourers. Before assembling the temporary works for the roof, a number of full-scale mock-ups were constructed to check the feasibility of the proposed methods of construction, geometric form, practicality of fixing the complex reinforcement, entrance and inner leaves, and interior dome elements. Forms and their supports for all the petals were designed to withstand pressures from continuous concreting. To avoid construction joints, petals were concreted in a continuous operation for approximately 48 hours. Concrete was carried up the staging by women bearing 50-pound loads in baskets balanced on their heads. All the steel reinforcing for the shells of the lotus petals was galvanised to avoid rust stains on the white concrete in the prevailing humid conditions, and guarantee the life of the delicate shell structure of 6 to 18 cm thick shells of the petals.

Ventilation and cooling are based on techniques traditional to the Indian subcontinent. Fresh air, cooled as it passes over the fountains and pools, is drawn in through openings in the basement, up into the central hall, and expelled through a vent at the top of the interior dome. During the humid season a set of exhaust fans in the basement recycles air from the main hall into the cool basement and back.

India is well endowed with human resources. This resource was amply utilised and most of the work was carried out by a work force of almost 700 people, including 400 carpenters at a time, using the most traditional techniques and equipment to achieve the highest quality and sophisticated construction. People have marvelled that such a modern and complex design could be built in India. The architect in fact believes that this design could not have been executed anywhere else because it is rare to find the combination of traditional craftsmanship, pride in one's work, empathy for spiritual undertaking, perseverance under all odds and ample patience, as can be found in the people of India. As commented by progressive Architecture of USA in their article on the Bahá'í Temple "It goes to prove that high-tech concepts do not always demand high-tech solutions."

When the temple was first opened to the general public on January 1, 1987 they flocked to the "Lotus Temple", as they fondly call it, from sheer curiosity. The vast lawns, the massive white structure, the high ceiling Prayer Hall, and a temple without idols standing so close to an ancient Hindu temple aroused the interest of all and sundry. The Indian visitors, from the most sophisticated to the most simple, expressed perplexity at the absence of any idols. It has been a hard task since explaining to them that the all-pervasive Almighty cannot be put in any limited form. Often the visitors ask the guides where the object of adoration is. In their simplicity some have placed flowers before the lectern used during regular prayer services.

Over the years the visitors from India have begun to understand that the purpose of the Bahá'í House of Worship is to unite the hearts of the people and bring them closer to their Creator. Many a visitor has penned his impressions in the Visitor's Book maintained in the Library of the Temple. Some of these are reproduced to convey the impression the Temple and the Bahá'í teachings are making on the visitors

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TheNational Museum is another interesting spot located very close to India Gate. The museum has a rich variety of all facets of ancient Indian history and also of central Asia. In fact the museum takes one through a fascinating journey of what ancient India was all about, pottery, rare coins, and numerous such things including art and architecture, costumes are for all to see. It's something every tourist should find time to visit even if the schedule is tight. On the right of Rajpath at Janpath is National Museum or Yadughar. Jawaharlal Nehru laid the foundation stone in 1955 and the museum was opened to visitors in 1965. Collections from Mahenjadaro, Harappa, Lothal, Kalibangan and antiques of prehistorical periods are on display. The history dated back to 5000 years are vividly displayed in the museum.The collections of Indus civilization, Brahminical, Jain and Buddhist sculptural antiques are all there. The colour paintings of Mughal, Rajput, Deccan are praiseworthy. Besides, there are the holy Git Gobinda, the holy Mahabharata, the holy Bhagabat Gita in golden alphabet, Octogonal mini Quran, Babamama in Babar's handwriting, Jahangir's diary, musical instruments of more than 300 types, varieties of tribal dresses enriched the museum. The antique collections of Sir Aurel Stein has added the attraction of the museum. The evolution of ornaments through ages from prehistoric era to recent modern time, its shape, size, design and pattern and of metalic combinations with or without jewel set are all on display in the ornament gallery of the museum. It draws tourists most.

On Janpath, Just South of Rajpath, the National Museum has a pretty good collection of Indian bronze, terracotta and wood sculptures dating back to the Mauryan Period (2nd to 3rd century BC), exhibits from the Vijaynagar period in South India, miniature and mural paintaings, and costumes of the various Adivasis (tribal peoples). Next Door, is the Archaeological Survey of Indian Office.

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On the left of this Zoo, there is Pragati Maidan. Founded in 1982 on the eve of Asian Games. Various Trade Fairs are being organised throughout the year. States have found their permanent stalls here with their products and merchandises. There are different museums set up here on different items of Indology. Visit Nehru Pavilion, Defense Pavilion, Indira Pavilion, Son of India Pavilion, Village Complex comprising of 7 acres of land, Energy is Life, Craft Museum with the collections of 20000 specimens of weaving products metal products - Daru and wooden products- earthen moulds and images and artifice along with other sculptural and cultural specimens for your entertainment from 10-00 to 17-00. On holidays it remains open till 20-00. At No 5 gate of Pragati, aiming at entertainment for the children, Appu Ghar Amusement Park, 3318681 has been founded, open from 12-00 to 20-00. Open from 12-00 to 20-00. Govt of India's Tourist Dept have founded Open Air Theatre here at Killa. Opp to it is Supreme Court.

Pragati Maidan is a world class exhibition centre located in the heart of New Delhi. Pragati Maidan hosts a series of high quality International and National Trade Fairs. Its exhibition halls, complete with a network of infrastructure facilities, in a lush green setting, make it the automatic choice of top motch exhibition organisers from India and Abroad. Pragati Maidan is well connected and can be reached easily.

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The origins of Qutab Minar are shrouded in controversy. Some believe it was erected as a tower of victory to signify the beginning of the Muslim rule in India. Others say it served as a minaret to the muezzins to call the faithful to prayer. No one can, however, dispute that the tower is not only one of the finest monuments in India, but also in the world. Qutab-ud-din Aibak, the first Muslim ruler of Delhi, commenced the construction of the Qutab Minar in 1200 AD, but could only finish the basement. His successor, Iltutmush, added three more storeys, and in 1368, Firoz Shah Tughlak constructed the fifth and the last storey.

The development of architectural styles from Aibak to Tughlak are quite evident in the minar. The relief work and even the materials used for construction differ. The 238 feet Qutab Minar is 47 feet at the base and tapers to nine feet at the apex. The tower is ornamented by bands of inscriptions and by four projecting balconies supported by elaborately decorated brackets. Even in ruin, the Quwwat Ui Islam (Light of Islam) Mosque in the Qutab complex is one of the most magnificent in the world. Its construction was started by Qutab-ud-din Aibak in 1193 and the mosque was completed in 1197.

Additions were made to the building by Iltutmush in 1230 and Alla-ud-din Khilji in 1315. The main mosque comprises of an inner and outer courtyard, of which the inner is surrouded by an exquisite collonade, the pillars of which are made of richly decorated shafts. Most of these shafts are from the 27 Hindu temples which were plundered to construct the mosque. It is, therefore, not surprising that the Muslim mosque has typical Hindu ornamentation. Close to the mosque is one of Delhi's most curious antiques, the Iron Pillar.

Dating back to the 4th century AD, the pillar bears an inscription which stated that it was erected as a flagstaff in honour of the Hindu god, Vishnu, and in the memory of the Gupta king Chandragupta II (375-413). How the pillar moved to its present location remains a mystery. The pillar also highlights ancient India's achievements in metallurgy. The pillar is made of 98 per cent wrought iron and has stood 1,600 years without rusting or decomposing

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